wcdleung Reviews

Secret Sunshine (2007)

good but not excellent

[27 December 2015]

*** This review contains mostly spoilers *** This movie discusses extreme sufferings. Shin-ae was dealt a very bad hand in life, and she made one bad move after another in response. Her parents sucked, and she couldn't quite play the piano that she aspired to, she married early to a cheating husband (whom she did not seem to miss), moved to Milyang without a good reason and without fitting in, lost her son (mostly due to criminals but her very minor misstep really added to her remorse), then jumped into a non-solution of mindless religion. I'm afraid the ending scene was the beginning of the last non-solution, accepting the pursuit of someone her couldn't relate to (and who couldn't understand her).

The movie certainly provokes thoughts and the performance of Do-yeon Jeon is excellent.

The main downside to me is that, most of these sufferings are portraited too outwardly, and a bit too much. So, the movie told me Shin-ae has gone through all these sufferings because of the crying and screaming. A more effective approach takes the audience to go through the emotions themselves with only a little hint. There are some such moments in the movie, her panic upon the ransom phone call, her response during the jail visit, and putting in the CD at the sermon, but they're small in proportion. The problem is with the script and directing, not the acting. The second downside is over-blowing the character Jong Chan, who does not mean much to Shin-ae and is "just there". When casting the famous Kang-ho Song they have to offer a bigger role. Also, everyone loves Kang-ho Song so no one can appreciate Shin-ae's reaction to Jong Chan.

Center Stage (1991)

it is about prosecution in an unfair society

[21 March 2008]

There are many pieces that should have been done better, but overall, the presentation is quite refreshing (interpersing footages and interviews with the main part of the movie)) and a story well-told.

SPOILERS THROUGHOUT THE REST

A few things worth clarifying -- Ruan was not married to Chang Ta-Min and she was not concerned about his accusation. It was her affair with Tang Chi-Shan (who refused to get a divorce) that bothered Ruan. Furthermore it was unclear to me if Ruan's union with Tang was voluntary or not. He's the boss of the studio afterall, and the scene with blowing the cigarette at him was taken from a movie in which a prostitute was forced to bed with a gangster.

She clearly liked Tsai Chu-sheng, but this person only "talked." He flirted with her and used her for his movies but never stood up to protect his movie or Ruan (even when the immediate trigger to Ruan by the press was her role in his movie).

Ruan rarely demonstrated her emotions but one can see them clearly during the filming of her movies.

In the end, it seems that part of her depression came from thinking out loud with the characters she was acting and empathizing with their predicaments. Then, these were amplified by the many unfairness tossed at her in real life, leading to her suicide. Pretty devastating!

PS. I actually liked a lot of the earlier slow scene between Ruan and her mother and adopted daughter. Much was reveal in those seemingly casual daily conversations (like the soup her mother prepared for Chang). Later on she was hiding almost everything to herself, and one can only get hints from subtle facial expressions etc.

Memento (2000)

Is it really that good? Is the top 250 list hijacked?

[8/10 · 13 July 2007]

So many of us are asking these questions (me too) that I can't resist writing the 1743th comment :)

Q1: I give it an 8 (I give good movies 7-8) but I make the official vote 7 to even out the over-rated 10's. It's a good movie ... for being able to take an attentive viewer to think loud with and think like Lenny. I like the feeling that everything is unreliable and conflicting but not quite, and like Lenny, we're struggling to label and put down all possible hints to give ourselves a "consistent" story we can come into terms with (there is no truth ... that's life). I particularly like the debate on distortions of memory and interpretations verses facts, and how even the process of recording can be tailored for our purpose (brief spoiler -- the handwriting). The movie is successful in sharing these good ideas, due to excellent choices in the editing and the filming. It's also somewhat philosophical, giving the movie even a little depth and intellect beyond the regular thrill and entertainment. Not sure why I won't give a 9 ... I guess to score 9-10, a movie has to be good beyond reason, and here, I am still reasoning.

For comparison, Taxi Driver also takes the viewer to feel like Travis, but is more superior to me. Eternal Sunshine debates between over remembering the good and forgetting the painful parts of a relation, but falls short of doing the right job.

Now, the top-250-problem. I agree with many others that the top list is overwhelmed by the lack of criticism and breadth. It still serves a reasonable function to recommend well deserved movies, but the strong bias for "popular" movies prevents many other better movies to be brought to the limelight. (How can OK-movies like Pan's Labyrinth, Eternal, or the Departed get so close to Memento???) No one wants to use a top-1000 list, but together with filtering, we can have more versions of the top-list? Just like the filters for the comments, one can view the list with votes from prolific authors, or foreign movies only, or movies below/above a certain budget? Or have different weights to the votes?

Offside (2006)

"We qualified"

[8/10 · 19 May 2007]

That's what one of the girls said at the end.

Is the soccer game a metaphor for a qualifying game between the girls (or more broadly, a free-thinking group) and the authority? "To Germany" means to a future that's of hope?

It's one of the most unforgettable cinematic experience I've ever had -- despite the crude cinematography and plot, and mild over-acting (though I like the cast -- they're lovable and well above the expectation for amateurs). The ridiculous situation is well captured. I can feel the deep frustration being denied to a game (being female and a soccer fan) and I cannot stop thinking how to make a convincing disguise. I wonder why there's no women's section in which protection from dirty language and bad behavior can be provided -- defeating the flawed reasons for the deny.

The movie is very cleverly made -- the amazing title, the filming during the actual game, the spontaneity, and various methods to put the viewers into the shoes of the characters -- the game that's so important but inaccessible (not shown), the luring light and cheering sound from the stadium, the confinement of the van, and the uselessness of it when those inside connect with the celebrating crowds outside. I can feel the comfort coming from the radio, the drinks and the food, and of course, the kindness and consideration from each character to others. During the end credits, I am amused that no character has a name -- he's just any "soldier" and she's just any "girl" or "sister".

You Shoot, I Shoot (2001)

Enough laughter to hurt your stomach

[8/10 · 31 March 2007]

I will not repeat the information well stated in the other two comments.

You'll see very good humor, and a lot of exaggerated facets of life in Hong Kong and in the entertainment business there. Furthermore, every line and every gag is heavily loaded (for instance, the filmmaker cut and pasted the "copyright warning" of a movie onto his :D See more of the quotes.

The language in this movie is relatively translatable into English (I will say an impressive 80%). The culture may be a little more obscure. Further notes on the language: Bart's wife somehow speaks Mandarin not Cantonese, and his mother in law speaks a weird dialect, and father-in-law speaking Cantonese. That's something I don't quite understand, except for poking fun at people having gorgeous mainland Chinese wives without a brain, and a mother-in-law who cannot be understood. The Japanese girl represents the stereotyped exploited porn stars.

There is another main plot hole. Spoiler starts here. Isn't it much easier to post-processing the voice for the mafia boss killing instead of going through that long re-filming?

An Autumn's Tale (1987)

Best of Chow Yun Fat

[10/10 · 22 February 2007]

The action-coolness of Chow probably eclipses his real talent -- the subtle detail he's able to deliver. Imagine without the well-portrayed chemistry between him and Jennifer, the movie will degrade to "just another boy-meet-girl" flick. He's the magic. Chery Chun was mostly a "vase" (albeit a pretty one :) I guess the director is the magician who delivered.

Two points to add -- (1) I believed the director herself studied in NYU (where Jennifer studied), and it is amazing how well she captured the feelings of those who study in the US from HK (typical in those days were financial stress, part time jobs, crucial peer support and cover-up of difficulties from parents). She also presented NYC in no less passion than Woody Allen (who's cited in the movie itself), except she beautified the poor-men's share and perhaps cast doubt on the rich (though with much sweetness).

(2) Most of the movie is simple and easily appreciated. But those who know Cantonese get a real bonus. In fact, Chow Yun Fat started out in TV shows, making himself cool and noticeable via his unconventional and memorable use of the language -- everything he said would be fashion for long long time (some of those terms he invented are still being used). So, the exact things he said were cute-cool-classic quotes, again, at least among the generations growing up watching him. It was unfortunate that back in those days, foreign movies were not as well publicized and received in the western world, so that his move to Hollywood was necessary for him to reach out to a wider audience. I have not seen him cast meaningfully since then :(

Taxi Driver (1976)

The story of a majority?

[9/10 · 6 January 2007]

Why am I adding 1 more comment to 514 existing ones? I simply cannot take the movie off my mind 6 days after the viewing.

The movie eloquently pictures the loneliness that follows many many Travis Bickles in the real world. The narration is phenomenal -- thanks to a scriptwriter, a director, and a lead character who understand or at least who manage to empathize those lonely (wo)men. The most scary part of the movie is not the violence but the loneliness that is lurking and ready to "kill" people.

A more mediocre movie would present loneliness as unwarranted tears or some other exaggerated actions (most movie-goers want ACTION) (see Babel, for example). Here, the feeling is conveyed by the endless streams of views on the street, distorted by the windshield, reflected from the windows. These are views and people of an "outside world" -- untouchable and surreal -- while the protagonist watches "inside" (the taxi is metaphor of an inside space totally separated from the outside and is constantly going nowhere). That feeling's heightened with the few painful expressions or dazed stares of DeNiro, and the haunting background music. Do we need to zoom in the anguished face of Travis when he last talked to Betsy on the phone? Is that one-sided conversation not unbearable enough? The presentation is so much stronger by leaving it to the viewer's imagination, and shooting the quiet hallway, with no one around and leading to nowhere. (This second technique showing isolation is also used heavily in most movies by Kar-Wai Wong.) The movie is great in being so engaging, while very little is going on. In the first viewing of mine, I was overwhelmed by fear and suspense. In the second viewing, knowing more in hindsight, I was simply struck by sadness.

Life is slow and aimless, and people can be full of contradictions and void of characters. That's life. Some other commentors have problems understanding these, and I envy their blissful disconnection with such painful reality.

I am no fans of Scorsese-style grandness but this movie really surprised me.

There are certain parts of the movie that are overly sentimental. There are also plot holes. For one thing, the sexual desires of Travis is quite contradictory -- the habit of watching porns vs the hatred of prostitution, and the nearly unbelievable act of taking Betsy to a movie (would he at least ask the girl to choose the movie)? Or is he really so much of a walking contradiction as Betsy calls it?

** MILD SPOILER HERE ** The ending -- my guess, after seeing the documentary, is that, the film-makers literally meant what they showed since Paul Schrader mentioned that Travis had not changed, and the ending was the beginning of his next violent act. But most viewers correctly voiced the legal problems (assuming the movie is one of reality than fantasy), and some came up with a much better alternative ending that the last portion is the flash-back and wish of Travis upon his death (though the actual scenes don't support this well). If I were one of the film-makers, I would definitely let people take their sides, esp if that covers up an original plothole :) I DISAGREE THAT this open-ending is intended or is a sign of greatness. (Compare Birds, or Before Sunset, or Broken Flowers.)

Jam Films (2002)

A refreshing medley

[8/10 · 26 December 2006]

From the perspective of a foreign viewer, these Japanese short films are quite refreshing in the topic and also in the presentation.

I like "Justice" the most. I really re-entered the classroom, and put myself into the exciting game of violating our scholarly duties in classes yet trying not to be caught. There is an awesome sense of humor and a feeling of playfulness that's authentic and unfabricated. For those unfamiliar with the buruma (http://en.wikipedia.org/wiki/Bulma) -- the habit delineated is very real. This is where 9 out of 10 can be given.

Arita and Pandora come next. The former is concerned with the feeling of lost and confusion in growing up, and the latter is depicting a strangely erotic yearning. These are familiar topics, but the presentations are simple and affecting.

The others four are more "commonplace" but still quite nice to see. An average of 7 out of 10 can be given.

Schultze Gets the Blues (2003)

A bit disappointing

[5/10 · 17 November 2006]

I thought I'd like this movie. The acting was very good, and I generally like movies focusing on very real characters. I never mind movies that are plot less and slow. It is not pretentious.

What't the problem? It is just boring. For a while, creative the sense of boredom suffered by the characters is OK, but 114 min of it is a bit much. Schultze, while gentle and likable, IS undeniably boring. His friends are equally boring, and some are just weird. The music has no life and is very repetitive. (The score is one of the worst.) Even the images that are supposed to be beautiful, are very cooked up.

I guess there are people who connect better to Schultze and his friends, but not me.

Before Sunset (2004)

Astounding

[10/10 · 6 August 2004]

I saw the ad for Before Sunset on a trip, and had to wait for 12 days before being able to see the movie. That 12 days seemed like ages. I felt that I was waiting to see an important friend after losing contact for 9 years, with all the curiosity what happened to him/her (here, for both Celine and Jesse). I felt fortunate to have seen Before Sunrise exactly 9 years ago without seeing it again so that I have exactly the faint 9-year-old impressions while watching Before Sunset.

I was astound after seeing Before Sunset.

What I did not expect was how much more serious Before Sunset is, compared to Before Sunrise. That 80 min conversation echoed so many things in life, e.g. why/how one stays in dissatisfied relations, our responsibilities and compromises, our occasional fall-back into feeling sad about life, while keeping our eyes on things still worth our effort and hope. The indirect allusions are so effective.

While some has complained about a relative slow pace, I found the pace very powerful. I was practically grilled by those moments of suspense or uneasiness or hesitation. I was also surprised and shocked when the pace was fast at certain points. I don't know whether they are intended or or, but such emotions engaged me like no other movie.

It is a very good movie even without hitting anyone's "soft pots" though a lot of the reviewers reported being "badly hit." The movie itself, the acting, and the story itself are all extremely charming. It definitely surpasses Before Sunrise, which has lent from scenery and is a little too sentimental at the very end. The atmosphere in Before Sunset is created entirely internal, which is amazing. It is also fortunate to have all the natural 9-year change in appearance and maturity in the cast. I cannot help suspecting that the makeup was made intentionally to feature a kind of aging into 32-33. I believe most actors and actresses at 32-33 look much younger on the screen.

The technique to have a continuous flow was also used in "Rope," which also delivers to the audience a good deal of emotional engagement for reasons described above.

Finally, this movie is really for an extreme minority, but it is nice to hear from others from within that minority group!